In 2014, I presented a short creation for the 40th anniversary of the Pina Bausch’s Wuppertal Tanztheater. “Fractus” was a trio in which I wanted to discuss the fracture between the individual and society. The piece was inspired by the Jewish-American linguist and political philosopher Noam Chomsky’s texts. If I translate Chomsky’s ideas for myself, I gain the insight that: ‘The only way the individual is able to protect himself against political and social propaganda, is to study all the information available. Each day we are bombarded with news that tries to influence our thinking. It is a very intensive exercise to filter everything and to resist believing what we are told to believe.’ Looking for primary movements on the edge of the tribal and folklore, this short performance raised the desire for more. In “Fractus V”, I want to deepen the questions on information and manipulation; propaganda versus a more ‘objective’ and factual approach. I also take as a starting point ‘liberty of expression’. Certain taboos are often broken these days and certain truths are undeniable but we still miss the capacity to digest them or place them in the right context. Because of that we are often pushed in an ‘us versus them’ mentality. We have the information, but we don’t know how to use it. Questions I ask myself: ‘It seems certain freedoms still need to be framed? How neutral can our thinking be? How much do we identify ourselves with the causes of the injustices in society? Where does personal responsibility start or end?’ Chomsky’s fundamental plead for ‘freedom of speech’ against the political attempts to control and to manipulate the media, resonates with my need as an artist for a space to constantly reinvent my own identity. This necessary process of renewal doesn’t happen gradually. It happens through radical fractures and being able to let go of the past. Evolution is the combined result of an endless series of small and big revolutions. Every day is a rite of passage, a point of no return… Nine different nationalities and outspoken identities on stage, will dialogue to come to an intense, dramatic and fluent whole. “Fractus V” stands for the natural fractures, which are necessary to grow and become stronger..

Sidi Larbi Cherkaoui

Sidi Larbi Cherkaoui’s debut as a choreographer was in 1999 with Andrew Wale’s contemporary musical, “Anonymous Society”. Since then he has made over 50 choreographic works and picked up a slew of awards, including two Olivier Awards, three Ballet Tanz awards for best choreographer (2008, 2011, 2017) and Kairos Prize (2009) for artistic vision and intercultural dialogue. Cherkaoui’s initial pieces were made at Les Ballets C de la B – “Rien de Rien” (2000), “Foi” (2003) and “Tempus Fugit” (2004). He undertook parallel projects that both expanded and consolidated his artistic vision; “d’avant” (2002) with artistic partner Damien Jalet at Sasha Waltz & Guests company and “zero degrees” (2005) with Akram Khan. He has worked with a variety of theatres, opera houses and ballet companies. From 2004-09, he was based in Antwerp as artist in residence at Toneelhuis which produced “Myth” (2007) and “Origine”(2008). In 2008 he premiered “Sutra” at Sadler’s Wells. After his first commissioned piece in USA, “Orbo Novo” (Cedar Lake) and a series of duets such as “Faun”and “Dunas” with flamenco dancer María Pagés (2009), he launched his own company Eastman, resident at Antwerp’s deSingel. Spring 2010 saw him reunited with choreographer Damien Jalet and Antony Gormley to make “Babel (words)” which won an Olivier. That same year he created duets “Rein”, “Play” and “Bound”. In 2011 he created “TeZukA” and “Labyrinth” (Dutch National Ballet). In 2012 “Puz/zle”, gaining him a second Olivier. That year he also collaborated with Joe Wright on his film “Anna Karenina”. In 2013 he premiered “4D” and “生 长 genesis” (Eastman), “Boléro” (with Damien Jalet and Marina Abramović, for Paris Opera Ballet) and “m¡longa” (Sadler’s Wells). In 2014, he created “Noetic” for GöteborgsOperans Danskompani​, “Mercy” for Natalia Osipova and Ivan Vasiliev, and he directed his first opera “Shell Shock” for La Monnaie, with music by Nicholas Lens and text by Nick Cave. In 2015 he made a trio “Harbor Me” for the L.A. Dance Project, and choreographed a new “Firebird” for Stuttgart Ballet. In the same year, he created “Fractus V” for his company Eastman, in which he also performs. Since 2015, Cherkaoui assumed the role of artistic director at the Royal Ballet of Flanders, where he has created “Fall” (2015), “Exhibition” (2016) and “Requiem” (2017). He combines this function with his title as artistic director of Eastman and keeps creating new work along with the artistic entourage of this company, for example “Qutb” (2016), a trio commissioned by Natalia Osipova, the operas “Les Indes Galantes” (2016) for the Bayerische Staatsoper and “Satyagraha” (2017) for Theater Basel, “Icon” (2016) for GöteborgsOperans Danskompani​ ​and “Mosaic” (2017) for Martha Graham Dance Company. Cherkaoui is also associate artist at Sadler’s Wells, London.

Founded in 2010, Eastman was set up to produce and promote the work of artistic director/choreographer Sidi Larbi Cherkaoui. His work provides the audience with a vast array of projects and collaborations; ranging from contemporary dance, theatre, ballet, opera, musical and other forms of performance. His non-hierarchical thinking on movement, body language and culture is the basis of his artistic approach. Set in his native harbor city of Antwerp, Eastman forms the central point for all of Cherkaoui’s work. Eastman is resident at deSingel in Antwerp.